Diana E. Henderson – författare

This Concise Companion presents a multidisciplinary range of approaches to a vast multimedia subject, Shakespeare on screen. Draws on the latest thinking in cultural studies, communications, and comparative media, in dialogue with literary, theatrical and filmic approaches. Organised around themes, such as authorship and collaboration, theatricality, sex and violence, globalization and history. Offers readers a variety of accessible routes into the subject of Shakespeare on screen. Also enables readers to explore fundamental topics in the study of literature and culture more broadly, such as the relationships between elite and popular culture, art and the marketplace, text and image. Includes suggestions for further reading, a bibliography, a filmography, a chronology and a thorough index.

This volume takes up the challenge embodied in its predecessors, Alternative Shakespeares and Alternative Shakespeares 2, to identify and explore the new, the changing and the radically ‘other’ possibilities for Shakespeare Studies at our particular historical moment.Alternative Shakespeares 3 introduces the strongest and most innovative of the new directions emerging in Shakespearean scholarship – ranging across performance studies, multimedia and textual criticism, concerns of economics, science, religion and ethics – as well as the ‘next step’ work in areas such as postcolonial and queer studies that continue to push the boundaries of the field. The contributors approach each topic with clarity and accessibility in mind, enabling student readers to engage with serious ‘alternatives’ to established ways of interpreting Shakespeare’s plays and their roles in contemporary culture.The expertise, commitment and daring of this volume’s contributors shine through each essay, maintaining the progressive edge and real-world urgency that are the hallmark of Alternative Shakespeares. This volume is essential reading for students and scholars of Shakespeare who seek an understanding of current and future directions in this ever-changing field.Contributors include: Kate Chedgzoy, Mary Thomas Crane, Lukas Erne, Diana E. Henderson, Rui Carvalho Homem, Julia Reinhard Lupton, Willy Maley, Patricia Parker, Shankar Raman, Katherine Rowe, Robert Shaughnessy, W. B. WorthenThe Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC)] 4.0 license.

"Like the artists studied here, we pick and choose our Shakespeares, and through that labor another story emerges. Frozen in time on the page or screen, some of those collaborations continue to speak, but denuded of their immediate moment and surroundings; we are left to supplement the traces. In recovering that past, the present takes on greater clarity and contrast. But the proof must be in the telling. A writer lifts a pen. Enter the multiple forces—political and economic, psychological, formal, and technical—that serendipitously transform imagination into memory. Let the collaborative play begin."—from the IntroductionFocusing on key writers, actors, theater directors, and filmmakers who have kept Shakespeare at the center of their endeavors over the past two hundred years, Collaborations with the Past illuminates not only the playwright's work but also the choices and responsibilities involved in re-creating culture, and the ingenuity and peril of the artistic process. By concentrating on rich yet problematic instances of Shakespeare's reanimation in such quintessentially modern forms as the novel and film, from Sir Walter Scott's Kenilworth to Kenneth Branagh's Henry V, Diana E. Henderson sketches a complex history of the pleasures and difficulties that ensue when Shakespeare and modern artists collaborate.Working with texts across the entire range of Shakespeare's career, Henderson demonstrates—through detailed analyses of novels including Jane Eyre and Mrs. Dalloway as well as filmed, televised, and staged performances—that art (even in the newest media) cannot avoid collaborating with the past. Only by studying that collaborative process can we comprehend Shakespeare and Anglo-American culture.

"Like the artists studied here, we pick and choose our Shakespeares, and through that labor another story emerges. Frozen in time on the page or screen, some of those collaborations continue to speak, but denuded of their immediate moment and surroundings; we are left to supplement the traces. In recovering that past, the present takes on greater clarity and contrast. But the proof must be in the telling. A writer lifts a pen. Enter the multiple forces—political and economic, psychological, formal, and technical—that serendipitously transform imagination into memory. Let the collaborative play begin."—from the IntroductionFocusing on key writers, actors, theater directors, and filmmakers who have kept Shakespeare at the center of their endeavors over the past two hundred years, Collaborations with the Past illuminates not only the playwright's work but also the choices and responsibilities involved in re-creating culture, and the ingenuity and peril of the artistic process. By concentrating on rich yet problematic instances of Shakespeare's reanimation in such quintessentially modern forms as the novel and film, from Sir Walter Scott's Kenilworth to Kenneth Branagh's Henry V, Diana E. Henderson sketches a complex history of the pleasures and difficulties that ensue when Shakespeare and modern artists collaborate.Working with texts across the entire range of Shakespeare's career, Henderson demonstrates—through detailed analyses of novels including Jane Eyre and Mrs. Dalloway as well as filmed, televised, and staged performances—that art (even in the newest media) cannot avoid collaborating with the past. Only by studying that collaborative process can we comprehend Shakespeare and Anglo-American culture.

Shakespeare and Digital Pedagogy is an international collection of fresh digital approaches for teaching Shakespeare. It describes 15 methodologies, resources and tools recently developed, updated and used by a diverse range of contributors in Great Britain, Australia, Asia and the United States. Contributors explore how these digital resources meet classroom needs and help facilitate conversations about academic literacy, race and identity, local and global cultures, performance and interdisciplinary thought. Chapters describe each case study in depth, recounting needs, collaborations and challenges during design, as well as sharing effective classroom uses and offering accessible, usable content for both teachers and learners.The book will appeal to a broad range of readers. College and high school instructors will find a rich trove of usable teaching content and suggestions for mounting digital units in the classroom, while digital humanities and education specialists will find a snapshot of and theories about the field itself. With access to exciting new content from local archives and global networks, the collection aids teaching, research and reflection on Shakespeare for the 21st century.

Shakespeare and Digital Pedagogy is an international collection of fresh digital approaches for teaching Shakespeare. It describes 15 methodologies, resources and tools recently developed, updated and used by a diverse range of contributors in Great Britain, Australia, Asia and the United States. Contributors explore how these digital resources meet classroom needs and help facilitate conversations about academic literacy, race and identity, local and global cultures, performance and interdisciplinary thought. Chapters describe each case study in depth, recounting needs, collaborations and challenges during design, as well as sharing effective classroom uses and offering accessible, usable content for both teachers and learners.The book will appeal to a broad range of readers. College and high school instructors will find a rich trove of usable teaching content and suggestions for mounting digital units in the classroom, while digital humanities and education specialists will find a snapshot of and theories about the field itself. With access to exciting new content from local archives and global networks, the collection aids teaching, research and reflection on Shakespeare for the 21st century.

Shakespeare and Digital Pedagogy is an international collection of fresh digital approaches for teaching Shakespeare. It describes 15 methodologies, resources and tools recently developed, updated and used by a diverse range of contributors in Great Britain, Australia, Asia and the United States. Contributors explore how these digital resources meet classroom needs and help facilitate conversations about academic literacy, race and identity, local and global cultures, performance and interdisciplinary thought. Chapters describe each case study in depth, recounting needs, collaborations and challenges during design, as well as sharing effective classroom uses and offering accessible, usable content for both teachers and learners.The book will appeal to a broad range of readers. College and high school instructors will find a rich trove of usable teaching content and suggestions for mounting digital units in the classroom, while digital humanities and education specialists will find a snapshot of and theories about the field itself. With access to exciting new content from local archives and global networks, the collection aids teaching, research and reflection on Shakespeare for the 21st century.

Shakespeare and Digital Pedagogy is an international collection of fresh digital approaches for teaching Shakespeare. It describes 15 methodologies, resources and tools recently developed, updated and used by a diverse range of contributors in Great Britain, Australia, Asia and the United States. Contributors explore how these digital resources meet classroom needs and help facilitate conversations about academic literacy, race and identity, local and global cultures, performance and interdisciplinary thought. Chapters describe each case study in depth, recounting needs, collaborations and challenges during design, as well as sharing effective classroom uses and offering accessible, usable content for both teachers and learners.The book will appeal to a broad range of readers. College and high school instructors will find a rich trove of usable teaching content and suggestions for mounting digital units in the classroom, while digital humanities and education specialists will find a snapshot of and theories about the field itself. With access to exciting new content from local archives and global networks, the collection aids teaching, research and reflection on Shakespeare for the 21st century.

The Arden Research Handbook of Shakespeare and Adaptation explores the dynamics of adapted Shakespeare across a range of literary genres and new media forms. This comprehensive reference and research resource maps the field of Shakespeare adaptation studies, identifying theories of adaptation, their application in practice and the methodologies that underpin them. It investigates current research and points towards future lines of enquiry for students, researchers and creative practitioners of Shakespeare adaptation. The opening section on research methods and problems considers definitions and theories of Shakespeare adaptation and emphasises how Shakespeare is both adaptor and adapted.A central section develops these theoretical concerns through a series of case studies that move across a range of genres, media forms and cultures to ask not only how Shakespeare is variously transfigured, hybridised and valorised through adaptational play, but also how adaptations produce interpretive communities, and within these potentially new literacies, modes of engagement and sensory pleasures. The volume''s third section provides the reader with uniquely detailed insights into creative adaptation, with writers and practice-based researchers reflecting on their close collaborations with Shakespeare''s works as an aesthetic, ethical and political encounter. The Handbook further establishes the conceptual parameters of the field through detailed, practical resources that will aid the specialist and non-specialist reader alike, including a guide to research resources and an annotated bibliography.

The Arden Research Handbook of Shakespeare and Adaptation explores the dynamics of adapted Shakespeare across a range of literary genres and new media forms. This comprehensive reference and research resource maps the field of Shakespeare adaptation studies, identifying theories of adaptation, their application in practice and the methodologies that underpin them. It investigates current research and points towards future lines of enquiry for students, researchers and creative practitioners of Shakespeare adaptation. The opening section on research methods and problems considers definitions and theories of Shakespeare adaptation and emphasises how Shakespeare is both adaptor and adapted.A central section develops these theoretical concerns through a series of case studies that move across a range of genres, media forms and cultures to ask not only how Shakespeare is variously transfigured, hybridised and valorised through adaptational play, but also how adaptations produce interpretive communities, and within these potentially new literacies, modes of engagement and sensory pleasures. The volume''s third section provides the reader with uniquely detailed insights into creative adaptation, with writers and practice-based researchers reflecting on their close collaborations with Shakespeare''s works as an aesthetic, ethical and political encounter. The Handbook further establishes the conceptual parameters of the field through detailed, practical resources that will aid the specialist and non-specialist reader alike, including a guide to research resources and an annotated bibliography.

The Arden Research Handbook of Shakespeare and Adaptation explores the dynamics of adapted Shakespeare across a range of literary genres and new media forms. This comprehensive reference and research resource maps the field of Shakespeare adaptation studies, identifying theories of adaptation, their application in practice and the methodologies that underpin them. It investigates current research and points towards future lines of enquiry for students, researchers and creative practitioners of Shakespeare adaptation.The opening section on research methods and problems considers definitions and theories of Shakespeare adaptation and emphasises how Shakespeare is both adaptor and adapted. A central section develops these theoretical concerns through a series of case studies that move across a range of genres, media forms and cultures to ask not only how Shakespeare is variously transfigured, hybridised and valorised through adaptational play, but also how adaptations produce interpretive communities, and within these potentially new literacies, modes of engagement and sensory pleasures. The volume’s third section provides the reader with uniquely detailed insights into creative adaptation, with writers and practice-based researchers reflecting on their close collaborations with Shakespeare’s works as an aesthetic, ethical and political encounter. The Handbook further establishes the conceptual parameters of the field through detailed, practical resources that will aid the specialist and non-specialist reader alike, including a guide to research resources and an annotated bibliography.

This Concise Companion presents a multidisciplinary range of approaches to a vast multimedia subject, Shakespeare on screen. Draws on the latest thinking in cultural studies, communications, and comparative media, in dialogue with literary, theatrical and filmic approaches. Organised around themes, such as authorship and collaboration, theatricality, sex and violence, globalization and history. Offers readers a variety of accessible routes into the subject of Shakespeare on screen. Also enables readers to explore fundamental topics in the study of literature and culture more broadly, such as the relationships between elite and popular culture, art and the marketplace, text and image. Includes suggestions for further reading, a bibliography, a filmography, a chronology and a thorough index.

Shakespeare Studies is an annual peer-reviewed volume featuring the work of performance scholars, literary critics and cultural historians. The journal focuses primarily on Shakespeare and his contemporaries, but embraces theoretical and historical studies of socio-political, intellectual and artistic contexts that extend well beyond the early modern English theatrical milieu. In addition to articles, Shakespeare Studies offers opportunities for extended intellectual exchange through its thematically-focused forums, and includes substantial reviews. An international Editorial Board maintains the quality of each volume so that Shakespeare Studies may serve as a reliable resource for all students of Shakespeare and the early modern period – for research scholars and also for teachers, actors and directors.Volume 51 includes a Forum on the work of Michael D Bristol, with contributions from J. F. Bernard, Gail Kern Paster, James Siemon, Jill Ingram, Unhae Park Langis and Julia Reinhard Lupton, Anna Lewton-Brain and Brooke Harvey, Nicholas Utzig, and Paul Yachnin. Volume 51 includes articles from the Next Generation Plenary of the Shakespeare Association of America and essays by Laurence Senelick ("A Gift to Anti-Semites: Shylock on the Pre-Revolutionary Russian Stage"), Christopher D'Addario ("Metatheater and the Urban Everyday in Ben Jonson's Epicoene and The Alchemist"), and Denise A. Walen ("Elbowing Katherine of Valois"). Book reviews consider eleven important publications on liberty of speech and female voice; theaters of catastrophe; adaptations of Macbeth; staging touch in Shakespeare's England; the criticism of Hugh Grady; Shakespeare and World War II film; Shakespeare and digital pedagogy; Shakespeare and forgetting; Shakespeare and disability studies, and Shakespeare's private life.

Shakespeare Studies is an annual peer-reviewed volume featuring work of performance scholars, literary critics and cultural historians. The journal focuses primarily on Shakespeare and his contemporaries but embraces theoretical and historical studies of socio-political, intellectual and artistic contexts that extend well beyond the early modern English theatrical milieu. In addition to articles, Shakespeare Studies offers unique opportunities for extended intellectual exchange through its thematically-focused forums, and includes substantial reviews. An international editorial board maintains the quality of each volume so that Shakespeare Studies may serve as a reliable resource for all students of Shakespeare and the early modern period – for research scholars as well as teachers, actors and directors.Volume 52 includes a Forum devoted the "Second Acts" of Shakespeare scholars with contributions from Mary Thomas Crane, Ayanna Thompson, Emily C. Bartels, Carla Della Gatta, Mary Jo Kietzman, Gina Bloom, Kevin Windhauser, Brinda Charry, Andrew J. Hartley, and Emma Whipday. Volume 52 includes contributions from the Next Generation Plenary of the Shakespeare Association of America as well as articles by Kinga Földváry ("From Melodrama to Tragedy and Back – Closing the Melodramatic Gap between Bollywood and Hollywood Shakespeare Adaptations"), Laura Higgins ("Locating Herself, Finding Her Voice: Mapping the Queen's Story in Shakespeare's Richard II"), Wesley Kisting ("The Theater of Conscience: Reforming Punishment in Measure for Measure"), Wolfgang G. Müller ("The Political Philosophies of Brutus and Cassius in Julius Caesar and the Theory of Preventive Tyrannicide"), and Greg M. Colón Semenza ("'Please, just no Shakespeare': Station Eleven's Utopian Economy of Cultural Distinction").Book reviews consider important publications on Shakespeare and university drama; Shakespeare and race; textual studies, editing and performance; poetry, science and the sublime; and entertaining uncertainty in early modern theater.

Volume 53 of the academic journal devoted to Shakespeare and Early Modern English Drama, Culture and Literature, published annually with peer-reviewed articles, forums, and reviews.Shakespeare Studies is an annual peer-reviewed volume featuring the work of performance scholars, literary critics, and cultural historians. The journal focuses primarily on Shakespeare and his contemporaries but embraces theoretical and historical studies of socio-political, intellectual, and artistic contexts that extend well beyond the early modern English theatrical milieu. In addition to articles, Shakespeare Studies offers opportunities for extended intellectual exchange through its thematically focused forums and includes substantial reviews. An international editorial board maintains the quality of each volume so that Shakespeare Studies may serve as a reliable resource for all students of Shakespeare and the early modern period—for research scholars as well as teachers, actors, and directors.Volume 53 includes a Forum entitled "Marlowe Revisited: Text, Performance, Legacy" with contributions from Lucy Munro, Adam Zucker, Kerry Cooke, Hannah L. Wilson, Cecilia Lindskog Whiteley, Jade Standing, Kitamura Sae, Christine Varnado, and Lisa M. Barksdale-Shaw. And featuring contributions from the Next Generation Plenary of the Shakespeare Association of America with articles by Andrew Hiscock ("'you performe your Antique round': Taking the Measure of Tyranny for a Twenty-first Century Macbeth"); Laura Kolb ("Becoming Tricky in Measure for Measure: Isabella's Silences Revisited"); Jessica M. Rosenberg ("Two Knacks in The Winter's Tale"); Kelly Lehtonen ("Virtuous Attention: Desire, Knowledge, and Compassion in Much Ado about Nothing"); and Kelsey Ridge ("'It was a torment / To lay upon the damned': Ariel and Trauma in The Tempest"). Book reviews consider important publications: Staging Female Characters in Shakespeare's English History Plays; Shakespeare through Islamic Worlds; Generic Innovation in Shakespeare and His Contemporaries; The Bard in the Borderlands; Shakespeare's White Others; The Great White Bard; Wartime Shakespeare; and Shakespeare on the Ecological Surface.

Volume 53 of the academic journal devoted to Shakespeare and Early Modern English Drama, Culture and Literature, published annually with peer-reviewed articles, forums, and reviews.Shakespeare Studies is an annual peer-reviewed volume featuring the work of performance scholars, literary critics, and cultural historians. The journal focuses primarily on Shakespeare and his contemporaries but embraces theoretical and historical studies of socio-political, intellectual, and artistic contexts that extend well beyond the early modern English theatrical milieu. In addition to articles, Shakespeare Studies offers opportunities for extended intellectual exchange through its thematically focused forums and includes substantial reviews. An international editorial board maintains the quality of each volume so that Shakespeare Studies may serve as a reliable resource for all students of Shakespeare and the early modern period-for research scholars as well as teachers, actors, and directors. Volume 53 includes a Forum entitled "e;Marlowe Revisited: Text, Performance, Legacy"e; with contributions from Lucy Munro, Adam Zucker, Kerry Cooke, Hannah L. Wilson, Cecilia Lindskog Whiteley, Jade Standing, Kitamura Sae, Christine Varnado, and Lisa M. Barksdale-Shaw. And featuring contributions from the Next Generation Plenary of the Shakespeare Association of America with articles by Andrew Hiscock ("e;'you performe your Antique round': Taking the Measure of Tyranny for a Twenty-first Century Macbeth"e;); Laura Kolb ("e;Becoming Tricky in Measure for Measure: Isabella's Silences Revisited"e;); Jessica M. Rosenberg ("e;Two Knacks in The Winter's Tale"e;); Kelly Lehtonen ("e;Virtuous Attention: Desire, Knowledge, and Compassion in Much Ado about Nothing"e;); and Kelsey Ridge ("e;'It was a torment / To lay upon the damned': Ariel and Trauma in The Tempest"e;). Book reviews consider important publications: Staging Female Characters in Shakespeare's English History Plays; Shakespeare through Islamic Worlds; Generic Innovation in Shakespeare and His Contemporaries; The Bard in the Borderlands; Shakespeare's White Others; The Great White Bard; Wartime Shakespeare; and Shakespeare on the Ecological Surface.